identifying inclusivity, equality, equity and privilege
TRANSCRIPT
21st Annual Conference July 9-12, 2019 Tallahassee, FL
Identifying Inclusivity, Equality, Equity and Privilege within
Ballet’s Training and Culture
Hosted by
Florida State University’s School of Dance
TABLE OF CONTENTS
President’s Welcome Letter 3 Board of Directors and Contact Information 4 Important Conference Location Information 5 Standing Committees 6-7 Special Thanks and Acknowledgements 8 Conference Guest Artists and Presenters 9 2019 Lifetime Achievement Award Recipient 10-13 2019 Basil Thompson Scholarship Recipient 14 Guest Artists and Collaborators Biographies 15-23
Detailed Conference Schedule 24-28 Presentation Abstracts in Order of Appearance 29-44 In Performance with The Tallahassee Ballet 45 Video Choreographic Sharing Program 46-47 Restaurants, Stores, Health Providers, and Map 48-51
2
3
BOARD OF DIRECTORS AND CONTACT INFORMATION
Founder, Ex-Officio, Board Member Richard Sias, Florida State University, Emeritus, FL
President Anjali Austin, Florida State University, FL
Past President Shani Robison, Brigham Young University, UT
President Elect Courtney Harris, Virginia Commonwealth University, VA
Treasurer Lara Petrin, Western Illinois University, IL
Secretary Melonie Buchanan Murray, University of Utah, UT
Members at Large Jessica Zeller, Texas Christian University, TX Karen Dearborn, Muhlenberg College, PA
Thomas Vacanti, University of Massachusetts, MA
4
IMPORTANT CONFERENCE LOCATION INFORMATION
Florida State University School of Dance Montgomery Hall
130 Collegiate Loop Tallahassee, FL 32306
Conference Hotel Residence Inn by Marriott Universities at the Capitol
600 W. Gaines St. Tallahassee, FL 32304
T: (850) 329-9080
University Center Club at FSU *Banquet Location*
FSU Doak Campbell Stadium University Center, Building B
Tallahassee, FL 32306 Ballroom East
5
STANDING COMMITTEES
Presidents’ Planning Council Chair: Anjali Austin – President
Members: Shani Robison – Past-President, Courtney Harris – President Elect
Awards Committee Chair: Shani Robison
Members: Anjali Austin, Rose Flachs, Courtney Harris
Scholarship Committee Chair: Shani Robison
Members: Courtney Harris, Anjali Austin
Strategic and Long Range Planning Chair: Shani Robison
Members: Sharon Garber, Christine Knoblauch-O’Neal, David Curwen, Elizabeth Gillaspy, Paula Weber, Nola Nolen, Judith Chazin-Bennahum,
Catherine Horta-Hayden
Bylaws and Constitution Chair: Paula Weber
Members: Molly Lynch, Cydney Spohn
Archives and History/Conference Proceedings Co-Chairs: Jessica Zeller, Molly Faulkner
Members: Rose Flachs, Jamie Johnson, Richard Allan Ploch, Cydney Spohn
Nominations and Elections Chair: Lisa Fusillo
Members: Molly Lynch, Cydney Spohn
Membership (and Recruitment) Co-Chairs: Elizabeth Turner and Yvonne Racz-Key
Members: Jay Kim, Boyko Dossev, Elizabeth Johnson, Christa St. John, Pedro Szalay
6
Support and Mentoring Chair: Karen Dearborn
Members: Lisa Fusillo, Tauna Hunter, Joan Buttram, Rita Snyder, Delia Neil
External Relations and Outreach Chair: Teresa Cooper
Members: Patricia Cohen, General Hambrick, Thomas Vacanti, Jeffrey Rockland
Website and Technology Co-Chairs: David Curwen, Charles Flachs
7
SPECIAL THANKS AND ACKNOWLEDGEMENTS
Board of Directors Anjali Austin, Shani Robison, Courtney B. Harris, Lara Petrin, Melonie Buchanan Murray, Jessica Zeller, Karen Dearborn, Thomas Vacanti
Pre-Conference Facilitator
Tammy L. Bormann
Conference Guest Presenters Tyrone Brooks, Joyce Fausone, Carla Peterson, Dr. Tom Welsh,
Dr. Elçin Haskollar,
The Tallahassee Ballet Kathryn Karrh Cashin, Katy E. Cashin, MaryRebekah Wright, Janet Pichard
Florida State University School of Dance
College of Fine Arts Friends of Dance
Lily Etemadi, Private Event Director, University Center Club Russell Sandifer, Director of Production
Rachel Hunter, Production Manager Greg Golden, Production Technician
Currie Leggoe, Costumer Daniel Smith, Accompanist, Specialized Faculty
Jennifer A. Petuch, Documentation and Lab Facilitator Meagan Helman, Adjunct Professor, Photographer
Cristina Izquierdo, Strategic Enrollment Analysis
Residence Inn by Marriot Universities Ashley Marshall, Events Specialist
Council on Culture and Arts (COCA)
Clothesline Dawn Earl
Volunteers Julie Opiel Leah Bailey
Trent Montgomery Robin Stuyverson
Elizabeth Bernstein Leigh-Alice Clark
CONFERENCE GUEST ARTISTS AND PRESENTERS
Conference Guest Artists
8
Tyrone Brooks, Artistic Director of The Tallahassee Ballet Joyce Fausone, Retired Dance Faculty at Florida State University Carla Peterson, Director of Maggie Allesee National Center for
Choreography (MANCC) Dr. Tom Welsh, Dance Faculty at Florida State University
Dr. Elçin Haskollar, Program Director for the Global Citizen Certificate and the Global Partner Certificate, FSU Center For Global Engagement
Lifetime Achievement Award Recipient Virginia Johnson
Basil Thompson Scholarship Recipient Ryan Hatch
Additional Guests Daniel Smith
Kathryn Karrh Cashin Katy E. Cashin
CORPS de Ballet International Member Presentations Colleen Barnes, University of Utah
Dr. Tanya Berg, University of Toronto Dr. Melonie B. Murray, University of Utah Ilana Goldman, Florida State University
Kristin Marrs, University of Iowa Dr. Kate Mattingly, University of Utah
Misa Oga, University of Utah Keith Saunders, Texas Christian University
Jennifer Weber, The College at Brockport, SUNY
9
2019 LIFETIME ACHIEVEMENT AWARD RECIPIENT
Virginia Johnson
Virginia Johnson, now Dance Theatre of Harlem Artistic Director, was a founding member and principal dancer with the company for more than twenty years. Born in Washington, DC, she graduated from the Academy of the Washington School of Ballet and briefly attended the School of the Arts at New York University as a University Scholar before joining DTH in 1969. Universally recognized as one of the great ballerinas of her generation she is perhaps best known for her performances in the ballets Giselle, A Streetcar Named
Desire, and Fall River Legend. During her years with the company, she performed most of the repertoire, with principal roles in Concerto Barocco, Allegro Brillante, Agon, A Streetcar Named Desire, Fall River Legend, Swan Lake, Giselle, Voluntaries, and Les Biches, among others, several of which were recorded for broadcast on PBS, network television and cable. Her choreographic credits include the television film Ancient Voices of Children, and works for Goucher College, Dancers Responding to AIDS, the Second Annual Harlem Festival of the Arts, Thelma Hill Performing Arts Center, and Marymount Manhattan College, where she was an adjunct professor. While still performing, her interest in journalism led her to Fordham University. After retiring from performing, she received an Independent Artist Grant from The Field that opened doors to arts producing. She attended the School of Visual Arts where she studied drawing, film making and television production before the opportunity to create POINTE magazine presented itself. She was founding editor-in-chief from 2000-2009. Her honors include a Young Achiever Award from the National Council of Women, Outstanding Young Woman of America, and the Dance Magazine Award, a Pen and Brush Achievement Award, the Washington Performing Arts Society’s 2008-2009 Pola Nirenska Lifetime Achievement Award, the 2009 Martha Hill Fund Mid-Career Award and an honorary doctorate from Cornish College of the Arts. In February 2016 she was honored by First Lady Michelle Obama at the White house for her contribution to the field of dance. In 2018 she held the Brackett Visiting Artist Chair at the University of Oklahoma and is the recipient of the 2019 CORPS de Ballet International Lifetime Achievement Award.
10
Accepting the Award on Behalf of Virginia Johnson Francesca Harper
Francesca Harper is an internationally acclaimed multi-faceted artist. After being named Presidential Scholar in the Arts and performing at the White House, Francesca attended Columbia University for a summer studying philosophy and computer programming, but could not deny a passion inside that moved her to pursue a professional career as a dancer. Francesca joined the Dance Theater of Harlem’s Junior Company that same summer and joined the main Company the following year. Francesca performed soloist roles with the DTH, such as the Hostess in Bronislova Nijinska’s Les Biches and soloist
in Swan Lake. After Dance Theater of Harlem, she fell in love with the choreography of William Forsythe. She joined his company, Ballet Frankfurt, quickly started performing lead roles, and soon after was promoted to Principal. While a member of Ballet Frankfurt, Francesca was chosen to perform with designers Issey Miyake, and Gianni Versace, and to perform in a film, Dancing Pleats, a 30-year retrospective of Issey Myake’s design work in Japan. She performed Miyake’s and Versace’s fashion shows in Paris and Milan as well. She was also spotted signing on the Frankfurt stage and subsequently invited to record her first single, Slow Groove. Slow Groove was produced on a compilation album and distributed in the U.K. and throughout Europe. She self-produced her own album, Modo Fusion, currently available on iTunes. While still a member of Ballet Frankfurt, she first tested the waters choreographically by creating her first full evening of work, Dark Violet Light Stone, commissioned by The Holland Dance Festival. The vastness of her artistry and hunger led Francesca back to New York City for Broadway productions including Fosse, The Producers, All Shook Up, The Frogs, and the Tony nominated treasure The Color Purple. As a member of The Color Purple she understudied the roles of Shug Avery and Squeak. This led Harper to booking her first Principal Broadway Roles as Helene in Sweet Charity and as Judith in Sophisticated Ladies. She also created her first play that appeared at the Cherry Lane Theater in New York, 50 minutes with Harriet and Phillis, produced by Anna Deavere Smith, in creation with her aunt, Pulitzer Prize Winning writer Margo Jefferson and Paul Miller a.k.a DJ Spooky. Most recently she was invited to develop a new character for the interactive show Sleep No More, where she sings every week at The McKittrick Hotel in New York City as jazz vocalist, Cecilia Robertson, aka Ceci. Francesca was also newly appointed Artistic Director of the Movement Invention Project® (MIP®) of NYC,
11
where she continues to encourage young artists to explore beyond their extremities and enhance their creativity. Harper has choreographed works for Alvin Ailey American Dance Theater, Ailey II, Tanz Graz, Hubbard Street II, Dallas Black Dance Theater, and her own company, The Francesca Harper Project, which was founded in 2005. Her TV appearances include Boardwalk Empire, David Letterman, and The Oprah Winfrey Show. Harper also served as ballet consultant for the feature film, Black Swan, by Darren Aronofsky, and starring Natalie Portman. Portman went on to win an Oscar for her performance in the film. Francesca was also a featured performer in Zinnias – The Life of Clementine Hunter directed by Robert Wilson, touring internationally with the production. She received a Living History Award in 2013 during Black history month from Long Island University, as well as the Innovation and Technology Award for her choreography for Fashion Week with designer Louis Vuitton. Francesca’s mother, Denise Jefferson, served as an inspiration and mentor for Francesca teaching work and giving back to the community. Her mother served as the director of The Alvin Ailey School for over 26 years. Denise Jefferson created the Ailey/Fordham B.F.A program, which changed the landscape for young aspiring dance artists by providing dancers the opportunity to obtain college degrees while continuing to pursue careers as a professional artists. Francesca’s mother was an example of courage and compassion for her daughter, and since her passing she remains a beacon of inspiration as Francesca continues to strive forward as a professional artist and teacher. Harper enjoys her appointment as an adjunct professor at New York University, a former Associate Professor at Barnard College, and continues the vital role of teacher and choreographer for The Ailey School, Fordham University’s BFA Program, and the Susan Batson Studio. SBS is led by Acting Guru and Obie award winner Susan Batson, who serves as Acting Coach for Nicole Kidman, Oprah Winfrey, Juliette Binoche, Tom Cruise, Liv Tyler, Usher, Lee Daniels, Sean Combs, and many more. Harper and Batson have started a film and television production company called "BetterMind Productions," and currently have two feature film projects in development. Batson also served as the directorial consultant for The Look of Feeling, Francesca’s one woman show based on the life of her mother, Denise Jefferson. The Look of Feeling premiered Off Broadway in The Spring of 2014 and received critical acclaim as “a piece rich in truth and authenticity." – Broadway.com. In July 2004, The Look of Feeling had its international debut at the Impulstanz Festival in Vienna, Austria. In 2016, the critically-acclaimed show made appearances around New York City with the debut of two new Chapters, featuring live music and the dancers of The Francesca Harper Project. The Francesca Harper Project has become the platform for Harper’s own artistic vision: classical dance forms deconstructed and fused with cutting-edge text, music, film and video. The company has toured
12
nationally and internationally at various venues including the Holland Dance Festival, Venice Biennale, NJPAC, Impulstanz, The Metropolitan Museum of Art, and The Joyce Theater. Francesca continues to create and perform meaningful works inspired by her mother and her own life experiences. She is committed to works rooted artistic expression, empowerment, and social awareness. She is grateful for the daily opportunity to do what she loves and is passionate about inspiring others to live their dreams.
13
2019 BASIL THOMPSON SCHOLARSHIP RECIPIENT
Ryan Hatch
Ryan Hatch is from Lehi, Utah. He is a senior at Brigham Young University. Throughout his college career, he has been the male soloist in Gerald Arpino’s Birthday Variations in 2017 and George Balanchine’s Valse-Fantaisie in 2018. This year he had the opportunity to perform soloist roles in Martha Graham’s Dark Meadows, Gerald Arpino’s Reflections, and George Balanchine’s Walpurgisnacht Ballet. He was also chosen to be in the Honors Class at Regional Dance America National Festival (2017) and Regional Dance America
Pacific Festival (2018). He is currently a senior at Brigham Young University and just finished his 4th year with BYU Theatre Ballet. He has been serving as the Theatre Ballet President from 2016-Present. Ryan is honored to receive the Basil Thompson Memorial Scholarship. This scholarship will help him to achieve his dreams of being a professional ballet dancer. After dancing professionally Ryan plans to receive his MFA in dance and eventually teach at a University. Ryan will use this funding to pay for dance tuition which will go towards off-campus performances and experiences.
14
GUEST ARTISTS BIOGRAPHIES
Tyrone Brooks, Artistic Director of The Tallahassee Ballet
Tyrone Brooks joined The Tallahassee Ballet as the Artistic Director in the 2013-2014 season. Brooks has a wide-range of professional experience including 18 years as a Principal Dancer at the Dance Theatre of Harlem, New York City (DTH). Brooks has been featured in a number of acclaimed performances including Alvin Ailey’s The River, Eugen Loring’s Billy the Kid, Jerome Robbins’ Fancy Free, Michael Smuins’ A Song for Dead Warriors, Medea, and John Butler’s Othello. Brooks has also performed internationally in Austria, Brazil, France, Germany, Italy, Israel, Japan, Norway, Spain,
Switzerland, Venezuela, South Africa, and Russia. Additionally, Brooks has been featured in performances by celebrated choreographers George Balanchine, Agnes DeMille, Geoffrey Holder, Garth Fagan, Jerome Robbins, Glen Tetley, Alonzo King, John Butler, John McFall, Robert North, John Taras, Billy Wilson, and DTH Founder and Artistic Director Arthur Mitchell. In 1984, Brooks was nominated for the Dancers Choice Award in London for his performance as Alan Strange in Equus. Brooks’ work has also been in a number of television features including the NBC presentation of Dance Theatre of Harlem’s Creole Giselle, the closing ceremonies of the 1984 Olympics, the PBS series Dance in America, CBS 60 Minutes with Ed Bradley featuring DTH, the PBS presentation of Live at the Kennedy Center The Making of Firebird, and the 1993 Kennedy Center Honors. Brooks also choreographed Black Explosion for the 2004 televised production of the Trumpet Awards. In addition to his experience as a Principal Dancer and performer, Brooks has accumulated extensive experience as a dance faculty member and administrator. For over 25 years, Brooks served as full-time Ballet Faculty at DTH. During that time he also served as the Associate Director of the DTH community outreach program, Dancing Through Barriers Ensemble. As Associate Director, Brooks represented DTH as a teaching artist in New York City Public Schools and commenced professional development workshops for teachers in curriculum development. He also conducted master classes and outreach programs in South Florida and for the Dance Theatre of Harlem-Kennedy Center Residency in Washington, D.C. and the Northern Virginia region. Mr. Brooks has also taught at the various institutions; Hofstra University , Mary Mount Manhattan College, Florida State University School of Dance, Alvin Ailey American Dance Theater,
15
New World School of the Arts, Thomas Armour Youth Ballet, Flint Institute of Music- Flint Youth Ballet, Interlochin Center for the Arts, Ballet Hispanico, Hampton University, Norfolk State University and New Orleans Ballet Theatre. In 2004, Brooks joined the Virginia School of the Arts as the Director of Community Dance and was subsequently appointed as the Executive Director of the Virginia School of the Arts by the Board of Directors. During his tenure at the Virginia School of the Arts, Brooks became an active member of the Lynchburg community and developed community partnerships with Opera on the James, The Academy of Fine Arts, Lynchburg Symphony Orchestra and the E.C.C. Glass High School Theatre Department. Brooks’ community engagement extended to his service on the advisory panel for the Virginia Commission for the Arts Tour and Performing Arts Directory, James River Diversity Council, and as a member of the Board of Directors of the James River Council for the Arts and Humanities and The Florida Division for the Individual Artist Fellowship panel. Mr. Brooks has a Certificate in Advanced Business Administration from Lynchburg College and was a Visiting Artist for the Florida State University School of Dance. Mr. Brooks serves on the Florida State University Friends of Dance Board of Directors and was recently inducted into the (MOBB) Museum of Blacks in Ballet.
Joyce Fausone, Retired Dance Faculty at Florida State University
A graduate of the University of Georgia with a major in dance education, Joyce moved to Tallahassee, Florida in 1972 to attend Florida State University where she received her MFA in Dance under the direction of Dr. Nancy Smith Fichter. After graduating she spent 8 years in south Florida before returning to Tallahassee where she served as the Artistic/Administrative Director of the Tallahassee Ballet for over 20 years. Through her leadership the Company grew from a small regional ballet company to a major cultural institution in
Tallahassee. During her tenure she enriched the company’s stature, repertory and initiated several community outreach programs including DanceChance, the Ireland Cultural Exchange, and the Special School Performance Series. She choreographed over 35 original works and initiated the Company’s annual concert An Evening of Music and Dance in collaboration with the FSU College of Music. She also produced the Company’s full-length ballets including the Nutcracker, A Midsummer Night’s Dream, Sleeping Beauty, Cinderella and Coppelia.
16
In 2004 Joyce received the Nancy Smith Award from the Florida Dance Association for Lifetime Achievement in the field of dance before joining the Florida State University dance faculty as the Coordinator of Special Events for the School of Dance and the Maggie Allesee National Center for Choreography. Over the years, her position shifted to special programs and events for the School of Dance including overseeing and mentoring the graduate students teaching in the General Studies Dance Program for non-majors, the annual Suzanne Farrell Young Dancer’s Workshop, the Summer Intensive Dance Workshop and the FSU Study Abroad Program “Dance in Paris”. One of her favorite aspects of her job was serving as the liaison to Friends of Dance. Joyce retired from the FSU School of Dance in 2016 and continues to teach as needed both locally and at the FSU School of Dance as adjunct faculty. Besides traveling and visiting grandchildren, Joyce also serves on the Board of the Friends of Dance Council and is currently working on a Paris Adventure for retirees utilizing her resources from the Dance in Paris program.
Carla Peterson, Director of Maggie Allesee National Center for Choreography
Carla Peterson was appointed Director of Maggie Allesee National Center for Choreography at Florida State University’s School of Dance in Tallahassee, Florida in May 2014 where she is charged with its overall artistic vision, strategic planning, fundraising, and the formulation of an annual residency season that supports a wide range of aesthetic practices by choreographers at all stages of their careers.
Prior to assuming this post, she was artistic director of New York Live Arts (2011–2014) and Dance Theater Workshop (2006–2011), serving as chief curator of annual seasons that featured diverse, intergenerational and global perspectives, and overseeing programs that supported emerging artists and ideas (Studio Series, Fresh Tracks) and international exchange (The Suitcase Fund). She was executive director of Movement Research in New York City, an internationally recognized laboratory for the investigation of new movement-based forms and the promotion of critical dialogue (2002–2006), managing director of the National Performance Network and director of The Suitcase Fund at Dance Theater Workshop (1993–1996), and assistant performing arts director at Wexner Center for the Arts, Columbus, Ohio (1988–1993). She has worked widely as a freelance arts consultant with artists, and with not-for-profit arts organizations and private foundations, including National Performance Network, Doris Duke Charitable Foundation, and
17
SURDNA Foundation, among others. She continues to serve on national dance and performing arts panels. She received a 2005 “Bessie“ (New York Dance and Performance Award) in recognition of her leadership at Movement Research and service to the dance community. In 2012, she was made a Chevalier de L’Ordre Des Arts Et Des Lettres by the French government, with a fall 2015 ceremony. She currently serves on the board of Mount Tremper Arts, and on the steering committee for the New York Dance and Performance Awards (aka Bessies), under the auspices of DanceNYC.
Dr. Tom Welsh, Dance Faculty at Florida State University
Tom Welsh is a member of the Dance faculty at Florida State University where he teaches dance anatomy & kinesiology, dance conditioning, Pilates for dancers, dancer coaching, and the science of dance training. Over the past 25 years, Dr. Welsh and his colleagues have been building a dancer wellness program that includes a purpose-built conditioning studio for dancers. He conducts and publishes empirical research on healthy
approaches to training for a career in dance. He wrote Conditioning for Dancers to help young dancers learn how to take greater responsibility for managing their own development as dance professionals. In 2016, Tom was named Dance Educator of the Year by the International Association for Dance Medicine & Science (IADMS).
Dr. Elçin Haskollar, Program Director for the Global Citizenship Certificate and the Global Partner Certificate, Florida State University’s Center for
Global Engagement
Dr. Elçin Haskollar is the Program Director for the Global Citizenship Certificate and the Global Partner Certificate at Florida State University’s Center for Global Engagement. Both programs are designed to help participants improve their cross-cultural skills and increase their global competencies. As faculty, a researcher and a cross-cultural trainer, Dr. Haskollar works with undergraduate and graduate students, post-doctoral scholars, and FSU faculty members. She conducts cross-cultural training workshops for student groups, centers and departments at FSU, in the greater
Tallahassee community and in the state of Florida. She is an affiliated scholar at the Rutgers University Center for the Study of Genocide and Human Rights. Dr. Haskollar earned both her Ph.D. and M.S. in Global Affairs from Rutgers, The State University of New Jersey. She received her
18
M.A. in International Peace and Conflict Resolution from Arcadia University, and her B.A. in Political Science from Loyola University Chicago. Dr. Haskollar has presented at numerous professional presentations and workshops in the United States, Canada, Argentina, China and Turkey. She lived in five different countries and learned six different languages.
ADDITIONAL GUEST ARTISTS AND COLLABORATORS
Kathryn Karrh Cashin, Resident Choreographer, The Tallahassee Ballet
Kathryn Karrh Cashin has choreographed for The Tallahassee Ballet for over 30 years including The Nutcracker and numerous chamber works, most notably Bolero. Her full-length ballets include Beauty and the Beast, A Midsummer Night’s Dream, Coppélia, Cinderella and The Sleeping Beauty. She has also choreographed several children’s ballets. She has served as choreographer for over twenty Florida State Opera works, most recently The Mikado, Eugene Onegin, Orpheus in the Underworld and Romeo and Juliet.
Dr. Cashin holds a BA in Russian/Business Administration, MA in Slavic and East European Studies and a PhD in Humanities. She is on the faculty of FSU's Program in Interdisciplinary Humanities, supervises the multicultural film course, and frequently teaches in Europe during the summer. Dr. Cashin, a former president of the Junior League of Tallahassee and graduate of Leadership Tallahassee, serves on the Leadership Council of FSU’s College of Arts and Sciences, and is a former curriculum and steering chair for Youth Leadership Tallahassee. She is a trustee for the Florida House on Capitol Hill and serves as vice-president of scholarships and grants for Alpha Delta Pi Sorority National Foundation.
19
Katy E. Cashin, Guest Choreographer, The Tallahassee Ballet
Katy E. Cashin received her BFA in dance performance and BA in history from Southern Methodist University. Cashin is a freelance choreographer in New York City creating works most notably for White Horse Theater Company (WHTC). Cashin’s WHTC productions include Tennessee William’s A Perfect Analysis Given by a Parrot, Sam Shepard’s Eyes for Consuela and WHTC Artistic Director Cyndy Marion’s world premiere, You Are Perfect. WHTC’s You Are Perfect was selected for the 2017 Toronto Fringe Festival under the direction of Rhys McClelland and performed at the Theatre Passe Mureille in
Los Angeles, CA in 2018. Cashin is fortunate to create original works for The Tallahassee Ballet including Mainframe, Rebonds B, There & Not, and Trio for Six. She has created works for "First Look" presented by Brooklyn Ballet and South Georgia Ballet. Cashin performed soloist roles in master works by George Balanchine, Maurice Béjart, Arthur Mitchell, and Gerald Arpino. She began her ballet training with The Tallahassee Ballet (TTB) under the direction of Joyce Fausone and trained under Christina Paolucci of New York Theatre Ballet, Sheila Humphreys of the Royal Ballet, and Richard Sias of National Ballet of Canada. At TTB, Cashin performed several principal and soloist roles in full-length ballets such as The Nutcracker, Coppélia, Cinderella, A Midsummer Night’s Dream, and Beauty and the Beast. This summer, Cashin received her masters of public administration from Columbia University’s School of International and Public Affairs in New York City.
MaryRebekah Wright, Assistant to the Artistic Director, Community Outreach Director, The Tallahassee Ballet
MaryRebekah Wright started dancing at the age of five under the direction of Crystal Draper and Melissa June. She has danced with the Atlanta Festival Ballet, and the Cincinnati Ballet during summers and spent a month studying ballet and modern dance in Paris, France. She was a member of the Civic Ballet of Volusia County for ten years, performing lead roles in their annual Nutcracker. She then moved to Tallahassee to study with the Florida State University School of Dance and pursued arts administration and outreach education in addition to dance.
In May 2016 MaryRebekah graduated from FSU with a BFA in Dance and a minor in Communications. She joined The Tallahassee Ballet in July 2016,
20
when she started as the Community Outreach Coordinator. In July 2017, she attended the National Dance Institute’s Teaching Artist Training intensive in New York City. MaryRebekah was appointed to the role of Assistant to the Artistic Director in August 2017.
Janet Pichard, Chief Executive Officer of The Tallahassee Ballet
Janet Pichard has been the Chief Executive Officer of The Tallahassee Ballet since January 2007. Combining a lifelong passion for dance with professional experience in ballet instruction and administration, business marketing, and advertising, she is uniquely qualified to balance the many opportunities of a growing semi-professional ballet company and school with the fine art of dance. As CEO of The Tallahassee Ballet, Janet works closely with the Board of Directors, artistic faculty and staff. She actively works to strengthen the presence of the
Company in the Tallahassee community and has nurtured the support of The Tallahassee Ballet’s many supporters and sponsors. Janet has held multiple professional positions in business marketing and advertising, including co-owner of P&G Marketing Group, advertising manager of The Tallahassee Ballet, and advertising representative for Rowland Publishing. She was also a member of the Greater Tallahassee Chamber of Commerce Leadership Tallahassee Class 26 that worked to raise support for Tallahassee’s Cascades Park. With more than three decades of experience in teaching ballet and managing studios, Janet is the former owner of the Dancer’s Image Studio, and has previously worked with the Sharon Davis School of Dance and served as a member of The Tallahassee Ballet Board of Directors. Janet holds a Bachelor’s Degree and a Master’s Degree from the College of Education at the Florida State University.
Daniel Smith, Specialized Faculty at Florida State University
Daniel Smith is an American composer, pianist, sound designer and conductor best known for his collaborations with preeminent dance companies and choreographers, he has worked with Martha Graham
21
Dance Company, Suzanne Farrell Ballet, Urban Bush Women, The Tallahassee Ballet, Gwen Welliver, Ilana Goldman, and Tim Glenn, among others. His most recent work, Roses in December, was at The Kennedy Center in May 2019. He was the topic of a 2015 documentary directed by Dana Terres entitled The Music that Makes Them Dance. Smith’s work for the concert stage as well as electro-acoustic mediums are also performed widely, as highlighted by Metamorphoses 1-3, which was premiered at the 2011 Ringling International Arts Festival as well as Darkness (2013), which was commissioned by renowned pianist and multimedia artist Julian Toha for his world tour, Immersion. As a pianist, Smith performs a wide range of solo, chamber, and orchestral repertoire and is a strong proponent of new music. He has performed premieres by the likes of Nico Muhly, Chris Brubeck, and Dorothy Hindman, and has been featured alongside numerous Grammy and Tony award-winning musicians, including Kristin Chenoweth, Mary Wilson of The Supremes, and Chris Mann. He has been the Principal Pianist for Sinfonia Gulf Coast since 2007. At the Florida State University School of Dance, Smith composes, performs, accompanies technique classes, and teaches courses pertaining to the intersection of music and dance.
22
DETAILED CONFERENCE SCHEDULE
21st Annual CORPS de Ballet International Inc. Conference Identifying Inclusivity, Equality, Equity and Privilege within Ballet’s Training
and Culture July 8-12, 2019
School of Dance, Florida State University Tallahassee, Florida
Conference Schedule
July 8, 2019 (Monday) 6:00-9:30 PM CORPS Lifetime Achievement
Award Dinner Celebrating the Life and Career of Virginia Johnson Former Ballerina and Current Artistic Director of Dance Theatre of Harlem University Center Club at FSU FSU Doak Campbell Stadium University Center, Building B Tallahassee, FL 32306
July 9, 2019 (Tuesday) Note: All Conference activities held at the FSU School of Dance, located in
Montgomery Hall 130 Collegiate Loop Tallahassee, FL 32306
Unless otherwise noted, all member presentations will be held in the
Nancy Smith Fichter Theatre in Montgomery Hall. 8:00-9:00 AM Registration
School of Dance Foyer 9:00-9:30 Welcome and Introduction to FSU
School of Dance Review of conference activities
9:30-9:45 CORPS President’s Address
Anjali Austin, Professor and Interim Chairperson
23
Florida State University 10:00-10:45 Brown, White, Black: The Truth About
the Unseen Ballerinas Jennifer Weber, Assistant Professor The College at Brockport, SUNY
10:50-11:35 Othering in America’s Ballet
Advertisements: The Troubling Representation of Race and Gender in Ballet Advertising Melonie Buchanan Murray, Associate Dean The University of Utah
11:40-12:10 Tour of Montgomery Hall led by Joyce Fausone (Meeting in School of Dance Foyer)
12:10-1:10 PM Lunch and Membership Meeting #1
Studio 301 (Lunch Provided by Friends of Dance)
1:15-2:00 Humanizing Ballet Training Through
Inclusive Pedagogical Strategies Tanya Berg, Sessional Lecturer University of Toronto
2:05-2:50 Choreographic Showing #1
Elizabeth Gillaspy, Professor Texas Christian University
Delia Neil, Associate Professor University of North Carolina at Charlotte
Diane Bedford, Assistant Professor Texas A&M University
Christine Knoblauch-O’Neal, Professor Washington University
3:00-4:30 Meet the Maggie Allesee National
Center for Choreography (MANCC) Carla Peterson, MANCC Executive Director Florida State University Developing Programs: Study Abroad, Summer Programs, and Friends of Dance
24
Joyce Fausone, Retired School of Dance Faculty Florida State University
4:45 Tour of Montgomery Hall
led by Joyce Fausone (Meeting in School of Dance Foyer)
July 10, 2019 (Wednesday) 8:30-9:00 AM Registration
School of Dance Foyer 9:00-9:45 “The Other”: Histories of Orientalism
Behind La Bayadère Colleen Barnes, MFA Candidate University of Utah
9:50-10:35 Arthur Mitchell & Dance Theatre of Harlem: Ballet, Inclusivity and Social Change Through the Arts Keith Saunders, Assistant Professor Texas Christian University
10:45-11:45 Meet CORPS’ Founders
Facilitated by Sharon Oberst Panelists include Professors Shari Garber, David Curwen, Joan Buttram, and Christine Knoblauch-O’Neal
12:00-1:10 PM Lunch/New Member and first-time attendee
meeting Studio 301 (Lunch Provided by Friends of Dance)
1:15-2:00 Interrupting Ballet Class – Developing
Students’ Voices Ilana Goldman, Associate Professor Dan Smith, Pianist Florida State University Studio 217 (Movement Session)
2:05-2:50 Choreographic Showing #2
Shani Robison, Associate Professor Brigham Young University
25
Robyn Pasternack, Professor University of Central Oklahoma
Marlene Skog, Assistant Professor University of Wisconsin-Madison
David Curwen, Professor Western Michigan University
3:00-5:00 Membership Meeting #2 July 11, 2019 (Thursday) 8:30-9:00 AM Registration
School of Dance Foyer 9:00-9:45 Incorporating Questions of Equity and
Access into University Coursework Kate Mattingly, Assistant Professor University of Utah
9:50-10:35 Draft, Workshop, Revise: Process for an
Inclusive Ballet Pedagogy in Higher Education Kristin Marrs, Lecturer in Ballet University of Iowa
10:45-11:30 Vaganova’s Vision of Neoclassicism,
Inclusivity, and Dancer Empowerment Misa Oga, MFA Candidate University of Utah
11:30-1:10 PM Lunch 1:15-2:45 Guest Presentation: Cross Training for
Dancers Dr. Tom Welsh, Professor; Tyressa Judge, PT; Gabriel William, MFA, CPT; and colleagues Florida State University Conditioning Studio, Montgomery 107 (Movement Session)
3:00-5:00 Guest Presentation: Contextualizing
Cultural Identities Dr. Elçin Haskollar, Program Director Global Citizen Certificate, FSU Center For Global Engagement
26
7:30 In Performance with The Tallahassee Ballet
Director’s Speak: Next Moves Tyrone Brooks, Artistic Director of The Tallahassee Ballet
July 12, 2019 (Friday) 9:30-11:00 AM CORPS de Ballet International:
Advocating for Integrity in Ballet’s Education, Performance, Research, and Profession Closing Discussion and Remarks Studio 301
Schedule is subject to change.
27
PRESENTATION ABSTRACTS
“Brown, White, Black: The Truth About the Unseen Ballerinas”
Presenter: Jennifer Weber; Assistant Professor, The College at Brockport, SUNY
ABSTRACT: The discipline of ballet has an acknowledged race problem. Predominantly stemming from white, Euro - centric cultures, the field of ballet continues to be scrutinized for its lack of diversity and lack of relevance to the larger cultures within which it is situated. Steeped in tradition, the field of ballet continues to bring reproductions and new works to the stage. Yet, by adhering to this way of existing, what perspectives are missing? This project responds to this criticism of ballet’s lack of diversity by utilizing a theoretical and creative perspective to investigate ways in which the form can incorporate often missing voices in its narrative. BIBLIOGRAPHY: Banks, Ojeya Curz. 2009. “Critical postcolonial dance recovery and
pedagogy: an international literature review.” Pedagogy, Culture, & Society 17, no. 3: 355 -367. Doi: 10.1080/14681360903194368.
Frank, Priscilla. 2016. “Misty Copeland Visits Cuba, Where Brown Ballerinas Are The Norm.” HuffPost, December 20,2016. http://www.huffingtonpost.com/entry/misty-copeland -cuba- ballet_us_58585de4e4b0b3ddfd8e61f7.
Foster, Susan Leigh. 2007. “Dido’s otherness: choreographing race and gender in the ballet d’action.” In Dance Discourses Keywords in dance research , edited by Susanne Franco and Marina Nordera, 121-130. New York: Routledge.
Howard, Theresa Ruth. 2017. “Op-Ed: Is Ballet “Brown Bagging” It?” Dance Magazine, April 3, 2017. https://www.dancemagazine.com/is -ballet-brown-bagging-it-2343051742.html.
. 2017. “Op-Ed: Why We Need to Confront Bias in Dance Criticism.” Dance Magazine , August 3, 2017. https://www.dancemagazine.com/op -ed-we-need-to-confront -racial -and-cultural -biases- in-dance-criticism -2468342343.html .
Kerr-Berry, Julie. 2016. “Peeling Back the Skin of Racism: Real History and Race in Dance Education.” Journal of Dance Education 16, no. 4: 119 -121. Doi: 10.1080/15290824.2 016.1238708.
Killen, Melanie and Charles Stangor. 2001. “Children’s Social Reasoning
about Inclusion and Exclusion in Gender and Race Peer Group Contexts.” Child Development 72, no. 1: 174 -186.
Maher, Erin K. 2014. “Ballet, Race, and Agnes de Mille’s Black Ritual.” The Musical Quarterly no. 97: 390-428: Doi: 10.1093/musqtl/gdu009.
28
McCarthy -Brown, Nyama. 2012. “Dancing in the Margins: Experiences of African American Ballerinas.” Journal of African American Studies
15, no. 3 (September): 385 -408. Doi: 10.1 007/sl21 11 -010- 9143 -0.
. 2014.“Decolonizing Dance Curriculum in Higher Education: One Credit at a Time.” Journal of Dance Education 14, no. 4: 125 -129. Doi: 10.1080/15290824.2014.887204.
Patton, Tracey Owens. 2011.“Final I Just Want to Get My Groove On: An African American Experience with Race, Racism, and the White Aesthetic in Dance.” The Journal of Pan African Studies 4, no. 6: 104 -125.
Picart, Caroline Joan S. 2013. Critical Race Theory and Copyright in American Dance . New York: Palgrave Macmillan.
Pickard, Angela. 2013. “Ballet body belief: perceptions of an ideal ballet body from young ballet dancers.” Research in Dance Education 14, no. 1: 3 -19. Doi: 10.1080/14647893.2012.712106.
BIOGRAPHY: Jennifer Weber, MFA, is on faculty at The College at Brockport State University of New York, as an Assistant Professor in the Department of Dance. Her research engages critical approaches to existing codified dance techniques to reimagine the ways in which the various training methods, practices, and genres of dance can be in conversation. The direct areas of application she investigates are dance pedagogy, creative process, and the individual artist. She has presented her research in Sydney, Australia; Florence, Italy; Provo, Utah; Salt Lake City, Utah; Geneva, New York; and Brockport, New York. Ms. Weber has been on faculty at the University of Utah, the University of Iowa, and many private schools across the United States. She specializes in ballet, contemporary technique, improvisation, creative process, teaching methods, and wellness practices. Ms. Weber holds an MFA from the University of Iowa where she was an Iowa Arts Fellow and was a recipient of the Caroline H. Newhouse Scholarship. She has a Bachelor of Arts in Mathematics from the University of Nebraska at Omaha, graduating summa cum laude with honors. Ms. Weber has danced with the professional companies of Ballet Quad Cities, Omaha Theater Company, and Ballet Nebraska.
“Othering in America’s Ballet Advertisements: The Troubling Representation of Race and Gender in Ballet Advertising”
Presenter: Dr. Melonie B. Murray, Associate Professor, University of Utah ABSTRACT: Given the various ways the ballet community is grappling with the contemporary repercussions of its gendered and racist history, the representation of race and gender within ballet advertisements is
29
troubling. This presentation investigates how race and gender are represented in advertising campaigns created for ballet consumers. Using visual culture methodologies, I analyze how race and gender are represented in ballet advertisements, highlighting the significance of how images represent the culture of ballet. I argue that some advertisements are actually perpetuating Othering and inadvertently contradict the notion that ballet is progressing beyond its gendered and racist roots. BIBLIOGRAPHY: Baker, Christina N. "Images of Gender and Sexuality in Advertising." The
Wiley Blackwell Encyclopedia of Gender and Sexuality Studies (2016): 1 -4. Center for Ballet and the Arts. NYU. “Race, Equity, and Otherness in Ballet and Society,” featuring
Virginia Johnson, Jennifer Homans, and Benjamin Millepied. November 6, 2016. http://balletcenter.nyu.edu/events/race -equity -and-otherness -in-ballet -and-society -november -6/. Accessed October 24, 2018.
Cortese, Anthony J. Provocateur: Images of women and minorities in advertising . Rowman & Littlefield, 2015.
Hanson, Kristan M. “Addressing Racial Diversity in Ballet,” in the Britannica Book of the Year. https://www.britannica.com/topic/Addressing
-Racial -Diversity -in-Ballet-2030912. Accessed October 24, 2018. Grau, Stacy Landreth, and Yorgos C. Zotos. "Gender stereotypes in
advertising: a review of current research." International Journal of Advertising 35, no. 5 (2016): 761 -770.
Kerr -Berry, Julie. "Counterstorytelling in Concert Dance History Pedagogy: Challenging the White Dancing Body." In The Palgrave Handbook of Race and the Arts in Education, pp. 137-155. Palgrave Macmillan, Cham, 2018.
Kerr -Berry, Julie. "Peeling Back the Skin of Racism: Real History and Race in Dance Education." Journal of Dance Education 16, no. 4 (2016): 119 -121.
Powell, John A. and Stephen Menendian. “The Problem of Othering: Towards Inclusiveness and Belonging.” http://www.otheringandbelonging.org/the -problem -of-othering/ . Accessed October 26, 2018.
Rose, Gillian. Visual methodologies: An introduction to researching with visual materials. Sage, 2016. Trendel, Olivier, Kathleen Vohs, and Marc Mazodier. "Images Change Implicit Attitudes More Than Text: Evidence From Corrective Advertising Attempts."ACR North American Advances (2017). Tuncay
Zayer, Linda, and Catherine A. Coleman. "Advertising professionals’ perceptions of the impact of gender portrayals on men and women: A question of ethics?." Journal of Advertising 44, no. 3 (2015): 1 -12.
BIOGRAPHY: Melonie is currently an Associate Dean within the College of Fine Arts at the University of Utah. Her research interests lie in exploring the continual evolution of ballet training methods and performances and, while
30
honoring the past, investigating ballet through a critical theory lens. Topics of recent research have included analyzing the commoditization of dancers in the advertising campaigns of American ballet companies, exploring notions of ballet as a form of cultural identity, examining how gender is performed in early ballet training, and exploring ballet as a degree focus in American higher education. Holding a BFA in Ballet from Friends University, MFA in Dance from the University of California, Irvine, and a PhD in Dance from Texas Woman’s University, Melonie believes that there is a place for all dance forms within the academy, and her commitment to dance as a scholarly endeavor is paramount. She was instrumental in building the dance program at Colorado Mesa University and later served as the Ballet Program Coordinator. Melonie was also the author of a newly-revisioned MFA in Ballet Program at the University of Utah and served as its inaugural Director of Graduate Studies. Her academic writing has been published in peer- reviewed journals, and she continues to defend the arts, dance, and ballet as legitimate scholarly pursuits. Melonie is certified in American Ballet Theatre’s national training curriculum and has experience teaching multiple genres of studio and academic courses at several universities. Professional affiliations include CORPS de Ballet International, Dance Studies Association, and the World Dance Alliance -Americas. She has also serves regularly as an adjudicator for the American College Dance Association.
“Humanizing Ballet Training Through Inclusive Pedagogical Strategies” Presenter: Dr. Tanya Berg, Sessional Lecturer, University of Toronto
ABSTRACT: This presentation discusses pedagogical strategies that allow students to achieve technical proficiency in ballet without feeling that their bodies are not suited to a perpetuated classical ideal. Ballet pedagogy should foster equity and diversity by creating inclusive studio environments and humanizing a dance form that has in the past been elitist and Eurocentric. Recent scholarship is used to address how teachers can allow ballet to be, and feel, accessible to dancers of all body types through imagery, safe alignment, and anatomical understanding, while fostering a joy of movement that has arguably been reserved for dance forms perceived as more progressive and accepting. BIBLIOGRAPHY: Akinleye, A. and R. Payne. (2016) Transactional Space: Feedback, Critical
Thinking, and Learning Dance Technique. Journal of Dance Education, 16 (4), 144 -148.
Ambrosio, N. (2015) Critical Thinking and the Teaching of Dance. Dance Education in Practice, 1 (1), 7- 11. Berg, T. (2017) Ballet as Somatic
31
Practice: A Case Study Exploring the Integration of Somatic Practices in Ballet Pedagogy. Journal of Dance Education 17 (4), 147 -157.
Clegg, H. and Helen Owton and Jacquelyn Allen-Collinson (2018) Challenging conceptions of gender: UK dance teachers’ perceptions of boys and girls in the ballet studio, Research in Dance Education 19 (2), 128 -139.
Davis C. U. (2018) Laying New Ground. Journal of Dance Education 18 (3), 120 -125. Dragon, D. A. (2015) Creating Cultures of Teaching and Learning: Conveying Dance and Somatic Education Pedagogy. Journal of Dance Education, 15 (1), 25 -32.
Krasnow, D. and M.V. Wilmerding. (2015) Motor Learning and Control for Dance: Principles and Practices for Performers and Teachers , Human Kinetics.
Quin, E., Rafferty, S. and C. Tomlinson. (2015) Safe Dance Practice: An Applied Science Perspective, Champaign, Il: Human Kinetics.
Chelsea Weidmann (2018) A New Dialogue in Ballet Pedagogy: Improving Learner Self-Sufficiency Through Reflective Methodology, Journal of Dance Education 18 (2), 55-61.
Wilmerding, M.V. and D. Krasnow. (2017) Dancer Wellness. Champaign, Il: Human Kinetics.
Zeller, J. (2 017) Reflective Practice in the Ballet Class: Bringing Progressive Pedagogy to the Classical Tradition. Journal of Dance Education, 17 (3), 99 -105.
BIOGRAPHY: Tanya Berg holds a PhD in Dance Studies from York University and is a graduate of Canada’s National Ballet School Teacher Training Program. In addition to teaching in private studios, Tanya has taught at the University of Toronto in the Faculty of Kinesiology and Physical Education since 2003. She has presented papers on topics such as panopticism in dance education, innovation in ballet pedagogy, and conditioning for ballet dancers. Tanya’s publications can be found in journals including Research in Dance Education and Journal of Dance Education, as well as the forthcoming anthology Case Studies in Dance Education: Ethical Dimension of Humanizing Dance Pedagogy.
“Racialized Visions of ‘the Other’: Histories of Orientalaism Behind La Bayadère”
Presenter: Colleen Barnes, MFA Candidate, University of Utah ABSTRACT: This paper superimposes three modalities: India’s colonial history, the history of La Bayadère in its many forms, and an Orientalist lens. Pierre Gardel’s 1810 opera Les Bayadères, Filippo Taglioni’s1830 opera-ballet Les Dieuet laBayadères, and Marius Petipa’s 1877ballet La Bayadère each have significant premiere dates in juxtaposition to India’s colonial
32
relationship with Europe. Reference to postcolonial theory further illuminates each production’s complicity with western patriarchal domination. This research takes a critical look into the misrepresentation and racism present in the productions of La Bayadère, and how this antiquated stereotyping is at play in today’s ballet community. BIBLIOGRAPHY: Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin, eds. The Post-Colonial
Studies Reader. Taylor & Francis, 2006. Clayton, Martin, and Bennett Zon, eds. Music and Orientalism in the British
Empire, 1780s-1940s: Portrayal of the East. Ashgate Publishing, Ltd., 2007.
The Complete Works of Johann Wolfgang vonGoethe in Ten Volumes, Vol.5.New York: P.F. Collier & Son, originally published in 1839. No author.
Dils, Ann, and Ann Cooper Albright, eds. Moving History/Dancing Cultures: A Dance History Reader. Wesleyan University Press, 2001.
Hall, Stuart. “The West and the Rest: Discourse and Power.” In Race and Racialization, 2E: Essential Readings, edited by Tania Das Gupta, Carl E. James, Chris Andersen, Grace-Edward Galabuzi, Roger C. A. Maaka, 86 -93. Canada: Canadian Scholars Press, 2018).
Hallaq, Wael B. Restating Orientalism: A Critique of Modern Knowledge. Columbia University Press, 2018.
Kleist, Eric Edmund. "European Or Oriental?: British Perceptions of Russia in the Nineteenth Century." PhD diss., Georgia State University, 2003.
“L’education d’un Prince.” In The Works of Voltaire: The Dramatic Works Of Voltaire (cont.) The Lisbon Earthquake And Other Poems; Volume 10, Parts 1 -2 Of The Works Of Voltaire: A Contemporary Version: A Critique & Biography; Voltaire. Editor unknown,117-125. St. Hubert Guild Craftsmen, 1901. Mehta, Binita.
Widows, Pariahs, and Bayadères: India as Spectacle . Bucknell University Press, 2002.
Nagashima,Mariko.“WatchingBalletthrougha#MeTooLens.”Crosscut, September29,2018. https://crosscut.com/2018/09/watching -ballet- through-metoo-lens
Said, Edward W. Culture and Imperialism. New York: Vintage Books, 1993. Said, Edward W. Orientalism. New York: Vintage Books, 1979.
Schneider, Rachel R. “The Administrative History of L’Academie Imperial de Musique in the Age of Napoleon: Opera for Gloire and Indoctrination. ”PhD diss., University of Akron, January 1990.
BIOGRAPHY: Colleen Barnes is expected to earn her MFA in Ballet from the University of Utah in April 2019. She seeksto encourage ballet’s much-needed shift to inclusivity through her research and teaching. Colleen has worked for the Joffrey Ballet School in various teaching and administrative roles since 2009, with which she has taught across the United States and abroad. She
33
is the Artistic Director of Joffrey South, Joffrey Colorado Springs, and Joffrey Heartland summer intensives. Colleen danced professionally with the Dayton Ballet, Ballet Pensacola, and Dance Now! Miami. “Arthur Mitchell & Dance Theatre of Harlem: Ballet, Inclusivity and Social
Change Through the Arts” Presenter: Keith Saunders ; Assistant Professor of Professional Practice,
Texas Christian University
ABSTRACT: The diversity issue in ballet has been around at least since 1933 when Lincoln Kirstein described his vision for ballet in America, a vision including the equal participation of black and white practitioners. In 1969, the establishment and success of Dance Theatre of Harlem positioned Arthur Mitchell and Karel Shookas powerful agents of inclusivity and empowerment through the arts. They changed perceptions about who could do ballet, and showed how it could change communities and change lives. I will examine that accomplishment and legacy and offer reasons and context for the rapid, unequivocal success of DTH from its inception. BIBLIOGRAPHY: “Arthur Mitchell: Visionary Videos: NVLP: African American History.”
Accessed March 20, 2017. http://www.visionaryproject.org/mitchellarthur/.
Charlotte Viewpoint. Dance Theatre of Harlem. Accessed March 20, 2017. https://www.youtube.com/watch?v=3hVqIjvNOZs.
“Cmdcschool.” Cmdcschool . Accessed March 20, 2017. http://www.cmdcschool.org.
DeFrantz, Thomas F.,and Anita Gonzalez, eds. Black Performance Theory. Durham; London: Duke University Press Books, 2014.
Fetzer, Emeri. “Dancers of Nederlands Dance Theater Give Back | DancePulp.” Accessed March 20, 2017. http://dancepulp.com/blog/
2015/03/23/how-nederlands -dans-theater -helps-by- dancing/. Gottschild, Brenda D. Digging the Africanist Presence in American
Performance: Dance and Other Contexts. Westport, Conn.: Praeger, 1998.
Gottschild, Brenda Dixon. Joan Myers Brown and the Audacious Hope of the Black Ballerina: A Biohistory of American Performance by Brenda Dixon Gottschild. Palgrave Macmil lan, 2012.
———. The Black Dancing Body: A Geography From Coon to Cool. 1st edition. New York: Palgrave Macmillan, 2003.
Hanna, Judith Lynne. To Dance Is Human: A Theory of Nonverbal Communication. Austin; London: University of Texas Press, 1981.
Harss, Marina. “Catching Up with Isaac Hernández.” Pointe Magazine, April 1, 2016. http://pointemagazine.com/featured -article/ catching -isaac-
34
hernandez/. Howard, Theresa Ruth. “Commentary: Race, Equity, and Otherness in
Ballet and Society, Curated and Introduced by Ta -Nehisi Coates – MOBBallet.org.” Accessed March 20, 2017. http://mobballet.org/index.php/2016/12/01/commentary -race- equity -and-othernessin--ballet -and- society -curated -and- introduced -by-ta-nehisi -coates/.
Kirstein, Lincoln. Ballet: Bias and Belief. First Edition. New York: Dance Horizons, 1983.
Kowal, Rebekah J. How To Do Things with Dance: Performing Change in Postwar America. Reprint edition. Middletown, Conn: Wesleyan, 2012.
Latham, Jacqueline Quinn Moore. “A Biographical Study of the Lives and Contributions of Two Selected Contemporary Black Male Dance Artists- Arthur Mitchell and Alvin Ailey- In the Idioms of Ballet and Modern Dance, Respectively.” Texas Woman’s University, Ph.D., 1973 Fine Arts, n.d.
Lewin,Yaël Tamar, and Janet Collins. Night’s Dancer: The Life of Janet Collins. Reprint edition. Middletown, Conn.: Wesleyan, 2011.
Mason, Francis. I Remember Balanchine. New York: Anchor, 1992. Maynard, Olga. “Arthur Mitchell & the Dance Theater of Harlem.” Dance
Magazine, March 1970. Mitchell, Arthur. The Dance Theatre of Harlem Founder Arthur Mitchell on
His “Company of Rejects” by Michelle Vellucci, March 13, 2009. http://flavorwire.com/13956/dance-theatre-of -harlem -founder - arthur-mitchel -on-his-company-of-rejects. “Ndg_essay_phillips.pdf.” Accessed March 22, 2017. http://www.danceheritage.org/ treasures/ndg_essay_phillips.pdf.“New-Dance-Group -History.pdf.” Accessed March 17, 2017. https://artforwhat.files.wordpress.com/ 2014/01/new -dance-grouphistory.pdf.“Our Philosophy.” Collage Dance Collective. Accessed March 20, 2017. http://collagedance.org/our - philosophy/.
Perpener, John. African -American Concert Dance: The Harlem Renaissance and Beyond. Urbana: University of Illinois Press, 2005.
Saunders, Keith. “South Africa Tour Diary,” September 3, 1992. Shook, Karel. “Dance Theatre of Harlem: The First Ten Years.” Internal
Document, DTH Archives, n.d.“The First 45 Years.pdf.” Accessed March 29, 2017. http://joburgcitytheatres.com/The%20First% 2045%20Years.pdf.
“Timeline – MOBBallet.org.” Accessed March 20, 2017. http:/mobballet.org/index.php/timeline/.
West, Cornel. Race Matters. Reprint edition. New York: Vintage, 1994. BIOGRAPHY: Over a 44-year professional career, Keith Saunders has practiced the art and science of ballet as a performing artist, teacher, ballet master, stager, coach, company director, director of education programs, lecturer, adjudicator, and consultant. A long-time dancer and ballet master with
35
Dance Theatre of Harlem (DTH) under the direction of Arthur Mitchell (1975-2010) and Virginia Johnson (2010 -2018), he has taught all levels of ballet while serving on the faculties of the DTH School, the Ballet Met Dance Academy, the New Ballet School (Ballet Tech), Steps NYC, the 92nd St. Y, the University of Wyoming (Guest Artist-in-Residence), and the Snowy Range Dance Festival. He has choreographed works at the student, university, and professional levels, and taught in numerable workshops and master classes in studios, schools, colleges, and universities across the United States and abroad. In 2017, Saunders earned an MFA in Dance from Hollins University of Roanoke, VA. He joined the faculty of the School for Classical & Contemporary Dance at Texas Christian University in 2018.
“Interrupting Ballet Class – Developing Students’ Voices” Presenter: Ilana Goldman, Associate Professor, Florida State University
ABSTRACT: Over the last eight years I have been designing a student-centered ballet class that employs unconventional strategies and “interruptions” of the traditional ballet class culture and format to promote students’ unique voices (both literally and figuratively). This workshop consists of a very abbreviated ballet class (no jumping!) for all abilities where I will share these methods. I will start with an explanation of my influences, many of which come from the contemporary dance realm, and will discuss each strategy after the participants engage with each exercise. Physical participation is not required. Observersare welcome. BIBLIOGRAPHY: Bransford, John. D., A. L. Brown, and R. R. Cocking. How People Learn:
Brain, Mind, Experience, and School. Washington D.C.: National Academy Press, 2000.
Dewey, John. “Art in Education, and Education in Art.” New Republic 46 (February 24, 1926): 11 –13. Dewey, John. Democracy and Education: An Introduction to the Philosophy of Education. Waiheke Island: The Floating Press, 2009.
D’Houbler, Margaret. Dance as a Creative Art Experience. Madison, Wisconsin: University of Wisconsin Press, 1959.
Gilbert, Anne Green. Brain Compatible Dance Education. Champaign, IL: Human Kinetics, 2006.Gilbert, Anne Green. Creative Dance for All Ages. Champaign, IL: Human Kinetics, 1992.
Lakes, Robin. “The Messages Behind the Methods: The Authoritarian Pedagogical Legacy in Western Concert Dance Technique Training and Rehearsals.” Arts Education Policy Review 106, no. 5 (2005): 3 – 20.
Shapiro, Sherry B. Dance, Power, and Difference: Critical and Feminist Perspectives in Dance Education. Champaign, IL: Human Kinetics,
36
1998. Weidmann, Chelsea. “A New Dialogue in Ballet Pedagogy: Improving the
Learner Self-Sufficiency Through Reflective Methodology.” Journal of Dance Education 18, no. 2 (2018): 55–61.
Zeller, Jessica. “Reflective Practice in the Ballet Class: Bringing Progressive Pedagogy to the Classical Tradition.” Journal of Dance Education 17, no. 3 (July 2017): 99.
BIOGRAPHY: Ilana Goldman is an Assistant Professor of Dance at Florida State University and has taught and choreographed for schools and companies across the country. She currently serves as Washington D.C.-based Bowen McCauley Dance Company’s Choreographer in Residence. Her three short dance films, Convergence, Fledgling, and InterState have screened at numerous international film festivals. She received her early training at the Maryland Youth Ballet and earned a Bachelor of Fine Arts from The Juilliard School, where she was awarded the John Erskine Prize for Artistic and Academic Excellence. She earned her Master of Fine Arts from the University of Washington. Ilana danced professionally with Oakland Ballet, Sacramento Ballet, Cedar Lake Contemporary Ballet, and Trey McIntyre Project, and as a guest artist with Alonzo King's LINES Ballet.
“Incorporating Questions of Equity and Access into University
Coursework” Presenter: Dr. Kate Mattingly, Assistant Professor, University of Utah
ABSTRACT: As educators we have integral roles to play in what our students learn, and I have discovered that our ballet undergraduates are invested in conversations about equity and access, and deeply committed to changing systems of exclusion. Rather than separate their coursework from events outside their classrooms, their curricula honors ballet as a site of critical inquiry that opens ways of understanding embodied knowledge and social change. In this paper I disclose how curricula can foster critical thinking in technique and theory courses and foreground the importance of analytical approaches in both modalities. BIBLIOGRAPHY: Ahmed, Sara. “Phenomenology of whiteness.” Feminist Theory 8, no. 2
(2007): 149 -168. Bales, Melanie and Karen Eliot, eds. Dance on its Own Terms: Histories
and Methodologies. New York: Oxford University Press, 2013.
37
Brooks,Lynn Matluck.“Arrows at Racism in Dance and Beyond, ”thINKingDANCE, June25, 2016. http://thinkingdance.net/articles/2016/06/25/Arrows -at-Racism-in- Dance-and-Beyond-Brenda-Dixon-Gottschild-
Chatterjea, Ananya. Butting Out: Reading Resistive Choreographies Through Works by Jawole Willa Jo Zollar and Chandralekha. Middletown: Wesleyan University Press, 2004.
Croft, Clare. Dancers as Diplomats: American Choreography in Cultural Exchange. Oxford: Oxford University Press, 2015.
DeFrantz, Thomas. Dancing Many Drums. Madison: University of Wisconsin Press, 2001.
Dixon-Gottschild,Brenda. DiggingtheAfricanistPresenceinAmericanPerformance. Westport: Praeger, 1998. King, Martin Luther. “Eulogy for the Martyred Children,” Speech delivered
in Birmingham, Alabama, September 18, 1963. Mitra, Royona. “Making Space: Brownness, Movement Pedagogy, and
Embodied Research,” Keynote Lecture, University of Surrey, January 16, 2017.
Rancière, Jacques. Politics of Aesthetics. London: Continuum, 2014. Smith, Linda Tuhiwai, Decolonizing Methodologies: Research and
Indigenous Peoples. London: Zed Books, 1999. Taylor, Diana. The Archive and the Repertoire. Durham: Duke University
Press, 2003. West, Cornel. “Black Culture and Modernism,” in Remaking History ed.
Barbara Kruger and Phil Mariana. Seattle: Bay Press, 1989. Williams, Patrick and Laura Chrisman. Colonial Discourse and Post –
Colonial Theory. New York: Columbia University Press, 1994. Zollar, Jawole Willa Jo. ““Listen, Our History is Shouting at us: A
choreographer confronts racism in dance, ”Looking Out: Perspectives on Dance and Criticism in a Multicultural World. New York: Schirmer Books, 1995.
BIOGRAPHY: Kate Mattingly is an Assistant Professor in the School of Dance at the University of Utah. Her research focuses on dance criticism and the transfer of experiences that are felt, embodied, and kinesthetic into formats that are written, spoken, and recorded. Her articles have been published in the New York Times, the Village Voice, Dance Research Journal, Dance magazine, Pointe magazine, The Washington Post, and many other journals and publications. She received her undergraduate degree in Architecture: History and Theory from Princeton University in 1993 and graduated with high honors. Her Master’s of Fine Arts degree is from New York University’s Tisch School of the Arts where she worked closely with Professor Deborah Jowitt and performed choreographic works by William Forsythe and Amanda Miller. Her doctoral degree from the University of California, Berkeley is in Performance Studies with a Designated Emphasis in NewMedia.
38
“Draft, Workshop, Revise: Processes for an Inclusive Ballet Pedagogy in Higher Education”
Presenter: Kristin Marrs, Lecturer, University of Iowa
ABSTRACT: This paper is based on my ongoing research into how ballet class content and modes of assessment promote inclusivity within a diverse student population in higher education. I explain my qualitative research methods, non –authoritarian pedagogical tactics, and integration of Alexander Technique principles. Creative writing process pedagogical strategies such as work shopping, peer -to-peer feedback, drafting, and revising are beneficial models for developmental progress in my ballet classes. I engage in a structured collaboration with a focus group of students who analyze how such techniques meet their individual and collective needs, while grounding their experiences in the time-honored grammar of ballet technique. BIBLIOGRAPHY: Alterowitz, Gretchen. 2014. "Toward a Feminist Ballet Pedagogy:
Teaching Strategies for Ballet Technique Classes in the Twenty-First Century." Journal of Dance Education 14 (1): 8-17.
Bales, Melanie, and Rebecca Nettl -Fiol. 2008. The Body Eclectic: Evolving Practices in Dance Training. Urbana: University of Illinois Press.
Berg, Tanya. 2017. “Ballet as Somatic Practice: A Case Study Exploring the Integration of Somatic Practices in Ballet Pedagogy.” Journal of Dance Education, 17 (4): 147-157.
Birk, Karena. 2009. “Pre-Professional Ballet Training: Toward Making It Fit for Human Consumption.” Congress on Research in Dance Conference Proceedings 41:166-170.
Burnbridge, Anne. 2012. “Somatics in the Dance Studio: Embodying Feminist/Democratic Pedagogy.” Journal of Dance Education 12 (2): 37 -47.
Enghauser, Rebecca. 2007. “Developing Listening Bodies in the Dance Technique Class.” Journal of Physical Education, Recreation & Dance, 78 (6): 33.
Johnson, Lorin. 2011. "More than Skin Deep: The Enduring Practice of Ballet in Universities." Theatre, Dance and Performance Training 2 ( 2): 181 -97.
Lakes, Robin. 2005. "The Messages behind the Methods: The Authoritarian Pedagogical Legacy in Western Concert Dance Technique Training and Rehearsals." Arts Education Policy Review 106 (5): 3 -20.
Nettl-Fiol, Rebecca, and Luc Vanier. Dance and the Alexander Technique: Exploring the Missing Link. Urbana: University of Illinois Press, 2011.
Weidmann, Chelsea. 2018. “A New Dialogue in Ballet Pedagogy:
39
Improving Learner Self-Sufficiency Through Reflective Methodology.” Journal of Dance Education, 18 (2): 55 -61.
White, Edward M. 1998. Teaching and Assessing Writing: Recent Advances in Understanding, Evaluating, and Improving Student Performance. Portland, Me.: Calendar Islands Publishers.
Yancey, Kathleen Blake, and BrianA. Huot. 1997. Assessing Writing across the Curriculum: Diverse Approaches and Practices. Greenwich, CT: Ablex Pub. Corp.
Zeller, Jessica. 2017. “Reflective Practice in the Ballet Class: Bringing Progressive Pedagogy to the Classical Tradition.” Journal of Dance Education, 17:3, 99-105.
BIOGRAPHY: Kristin Marrs, MFA is a Lecturer in Ballet at the University of Iowa, where she teaches ballet and pointe technique, Alexander Technique, choreography, and dance studies courses. After studying at SUNY Purchase and London Studio Centre, she danced professionally with Columbus Dance Theatre, Arova Contemporary Ballet, and Ballet Quad Cities, and continues to perform as an independent artist. Marrs’s research interests include the integration of somatic principles with ballet pedagogy. Her recent ballet When Trees Say Nothing was created in collaboration with fiber artist Mary Merkl-Hess and selected for performance at the 2019 ACDA Central Conference.
“Vaganova’s Vision for Neoclassicism, Inclusivity, and Dancer Empowerment”
Presenter: Misa Oga ; MFA Candidate, University of Utah
ABSTRACT: This paper uses historical evidence to demonstrate how Agrippina Vaganova advocated for progressive pedagogical methodologies. Ultimately, I argue that, while ballet has a distinct discipline, rigor, and integrity, its pedagogy is continuously evolving. Historians primarily focus on Vaganova’s refinement of classical ballet technique, and little is written about her broader vision for ballet. Vaganova advocated for dancers to approach their work with confidence and agency, regardless of age, gender, physique, and ability. I reveal how Vaganova encouraged neoclassicism, the modernization of ballet, and advocated for individuality from each dancer. BIBLIOGRAPHY: Au, Susan. Ballet and modern dance . Thames & Hudson, 2002. Agrippina, I., and Akovlevna Vaganova. Basic principles of classical ballet:
Russian ballet technique . Courier Corporation, 1969. Gerald Jonas, Dancing: The Pleasure, Power and Art of Movement, New
40
York: Harry N. Abrams, Inc., Publishers, 1998. Green, Harris. "Teaching: History: Marius Petipa." Dance Teacher 19,
2008. Homans, Jennifer. Apollo's angels: A history of ballet. GrantaBooks,2013. Katz Rizzo, Laura. Vaganova's Vision and the Development of Neoclassical
Russian Ballet Technique. Dance Chronicle 35, no. 3 (2012): 408 – 413.
Krasovskaya, Vera. Vaganova: a dance journey from Petersburg to Leningrad. University Press of Florida, 2005.
Lobenthal, Joel. Alla Osipenko: Beauty and Resistance in Soviet Ballet . Oxford University Press, 2016.
Pawlick, Catherine E. Vaganova today: the preservation of pedagogical tradition. University Press of Florida, 2011.
Perron, Wendy. “Temple of technique: The Vaganova Academy has been renovated, but the spirit of classicism still reigns. ” Dance Magazine , January 2012, 76+. Academic OneFile.
Perron, Wendy. More Fokine Please. wendy.perron.com. http://wendyperron.com/more -fokine -please (accessed November 1, 2017).
Rumyatseva, Valentina. Vaganova Ballet Academy: Russia’s world-class school. Dance Magazine, 1995.
Scholl,Tim. From Petipa to Balanchine: Classical Revival and the Modernisation of Ballet. Routledge, 2003.
Sulcas, Roslyn. Often a Swan, Rarely a Queen. New York Times. http://w ww.nytimes.com/2007/12/16/arts/dance/16sulc.html (accessed October 1, 2018).
Willis Aarnio, Peggy. Agrippina Vaganova(1879 -1951): Her Place in the History of Ballet and Her Impact on the Future of Classical Dance . Edwin Mellen Press, 2002.
Zeller, Jessica. Reflective Practice in the Ballet Class: Bringing Progressive Pedagogy to the Classical Tradition. Journal of Dance Education 17, no. 3, 2017.
BIOGRAPHY: Misa Oga is a graduate student in the MFA ballet program at the University of Utah, where she teaches ballet technique courses and is a graduate teaching assistant for ballet history courses. She is the artistic director and owner of MOGA Conservatory of Dance. Misa’s research interests lie in exploring the evolution of ballet, particularly of progressive pedagogical methodologies.Misa is the recipient of the “Outstanding Teacher” award at the 2018 Youth America Grand Prix.Misa is an ABT Certified Teacher of the ABT National Training Curriculum, and was the teacher for the Pre -Primary through Level 3 demonstration classes for the ABT NTC Training in Salt Lake City.
41
IN PERFORMANCE WITH THE TALLAHASSEE BALLET
“Celestial Dance” Choreography: Kathryn Karrh Cashin
Composer: Ellen Taaffe Zwilich
Hope Eltomi, Ben Howard Abigail Centers, Katerina De Lawyer, Julia Doering
“Retour” Choreography: Katy E. Cashin
Composer: Lili Boulanger
Jorge Arceo, Carri Britt, Abigail Centers, Paige Centers, Katerina De Lawyer, Julia Doering, Naomi Lebhar, Chris Miller
Commemorating the 100th anniversary of Boulanger’s death, Katy E.
Cashin’s piece “Retour” is inspired by Boulanger’s use of classical themes and tales such as Homer’s Odyssey. Boulanger was the first woman to win
the prestigious first prize of the Prix de Rome in 1913.
Director’s Speak: Next Moves Tyrone Brooks, Artistic Director of The Tallahassee Ballet
42
VIDEO CHOREOGRAPHIC SHARING PROGRAM
Tuesday, July 9, 2019 Title: In a breath Choreographer: Elizabeth Gillaspy Music/composer: L. v. Beethoven Dancers/performers: Liam Evans, Lauren Huynh, Joe LaLuzerne, Jaclyn LeVasseur Title: Las Mujeres Fuertes Choreographer: Delia Neil Music/composer: Piazzola Dancers/performers: Laura Dearman, Julia Foster, Tiffany Mako, Rose Wuertz Title: Panthera Choreographer: Diane Cahill Bedford Music/composer: Derezzed (remixed by The Glitch Mob) by Daft Punk and The Glitch Mob Dancers/performers: Lauren Copping, Lauren Dowdy, Abbey Menard, Kali Taft, Ashlyn Thompson Any additional credits: Costumes by Carisa Armstrong Title: Quartet Choreographer: Christine Knoblauch-O'Neal Music/composer: George Anitein Dancers/performers: Rachel Brough, Lauren Bush, Kelsey Donovan, India Shelley Wednesday, July 10, 2019 Title: Closing In Choreographer: Shani Robison Music/composer: Philip Glass
43
Dancers/performers: Dancers from BYU Ballet Showcase Company Title: “Another Story” Choreographer: Robyn Pasternack Music/composer: Frédéric Chopin, Mazurka in C-sharp Minor, Op. 50, No. 3 Dancers/performers: Dancers Alexis Hendrix and Yukina Sato/ Pianist Dr. David Forbat Any additional credits: Performance for the Oklahoma Music Association Conference Title: Exit Choreographer: Marlene Skog Music/composer: Arvo Part Dancers/performers: James Hibbard, Kristen Hammer, Abigail Stachnik, Lauren Reed Any additional credits: Lighting by Claude Heintz Title: Fantoccio: Alberto’s Demise Choreographer: David Curwen Music/composer: Caroline Shaw Dancers/performers: 9 dancers, plus one dummy Any additional credits: Costumes by Jocelyn Glanzman
44
NEARBY RESTAURANTS
Maple Street Biscuit Company $ 1600 W Call St.
Backwoods Crossing $$
6725 Mahan Drive
Chi Chi’s Café $ 460 W Tennessee St.
The Bark $
507 All Saints St.
Paisley Café $$ 1123 Thomasville Rd
Midtown Caboose $$ 1406 N Meridian Rd
Kool Beans Café $$ 921 Thomasville Rd
Moku Poke
1525 W Tennessee St.
Sweet Pea Café $ 832 W Tharpe St.
Liberty $$
1307 N Monroe St.
Table 23 $$ 1215 Thomasville Rd
Vale Food Co. $
815 W Madison St.
Bella Bella $$ 123 5th Ave
Bird’s Aphrodisiac Oyster Shack $ 325 N Bronough St.
Canopy Road Café $
1913 N Monroe St.
Sakura Sushi & Grill $$ 1319 N Monroe St.
El Cocinero $$
402 E Tennessee St.
Gaines Street Pies $$ 603 W Gaines St.
Siam Sushi $$
1700 N Monroe St.
4 Rivers Smokehouse $$ 1817 Thomasville Rd
Centrale Pizza Parm & Bar $$
815 W Madison St.
The Edison $$ 470 Suwannee St.
Bento Asian Kitchen + Sushi $
1660 W Tennessee St.
The Wine Loft $$ 1240 Thomasville Rd
Izzy Pub & Sushi $$
1123-3 Thomasville Rd
Au Péché Mignon $ 220 N Duval St.
45
ONSITE LUNCH OPTIONS
Suwannee Room Located across Landis Green, Suwannee’s newly innovative structures include Chef’s Table, which features a different specialty dish every day. Everyday options range from pizza, pasta, sandwiches, burgers, salads, and more. Suwannee also offers vegan, vegetarian, and gluten free options. Chick-fil-A Also located across from Landis Green, Chick-fil-A offers chicken sandwiches, strips, and nuggets along with salads and sides. 4 Rivers Smokehouse (FSU) 4 Rivers Smokehouse specializes in slow-smoke barbeque, home-style sides, and fresh bakery items in a family-friendly casual dining environment. The Sweet Shop The Sweet Shop offers brewed coffee, tea, sandwiches, wraps, and a variety of smoothies and other lunch options. The Sweet Shop is located on Jefferson St. and is about a 7-10 minute walk from the School of Dance. Tuscan Eatery Tuscan Eatery offers a unique setting for anyone looking for classic Italian fare. Diners can enjoy a variety of rustic pizza, pasta, paninis, and salads. Spear It Spear It is a casual tavern offering hearty servings of American eats, including burgers and pizza. Einstein Bros. Bagels Einstein is counter-service chain that offers egg sandwiches, soups, salads, baked goods and a variety of bagels and coffee.
46
STORES AND HEALTH PROVIDERS
CVS 822 W Pensacola St.
Lucky’s Market
1964 W Tennessee St.
GreenWise Market on Gaines 625 W Gaines St.
Publix Super Market at Ocala
800 Ocala Rd
Whole Foods Market 1817 Thomasville Rd
Trader Joe’s
3425 Thomasville Rd
Health and Wellness Center 960 Learning Way
Tallahassee Memorial Hospital
1300 Miccosukee Rd
Patients First 1660 W Tennessee St.
MAP
47
48